Chekhov Archives - Thoroughly Modern Milly

Chekhov is so exact in his expressions and yet his plays are wide open to interpretation. In the opening moments of the current Southwark Playhouse production I found myself wondering when I’d last seen “The Seagull”, arguably the most famous and familiar play from this great Russian playwright. And although I soon recollected it had been at Oxford University, a student production, the mood and vision of this very distinct play had then been entirely different.

This is a new and ultra-fresh version by Anya Reiss, the Royal Court’s most promising young writer. Watching this complex play I felt ashamed that at twenty-four, I struggle with so many of Chekhov’s innuendos and yet Anya, of a similar age to me, is able to fully interpret the Russian text, modernising the story and injecting it with attitude and zest.

The cast has obviously gelled well and the central protagonists; Joseph Drake as Konstantin and Lily James as Nina show particular teamwork and natural chemistry on stage together, which help make the production instantly believable. A graduate of Guildhall’s tough post-graduate acting course, James is addictive to watch, dancing around the stage, coquettishly fiddling with her dress whilst smiling endearingly with innocent eyes. Drake is impulsive and dramatic as the young Konstantin desperate to be taken seriously, he plays this complex role with insight and intuition. Matthew Kelly is also surprisingly good, and only a little too camp as Dorn, and Anthony Howell makes an appropriately icy and isolated Trigorin.

The Seagull is a tale of unrequited love and anguish, and the script needs little else to succeed. Jean Chan’s set is simple but effective with the characters rearranging the minimal props and furniture for each scene. Russell Bolam’s direction seems to bring the best out of the cast who respond naturally and intelligently throughout. It runs with great fluency and I found my concentration remained focused.

This Southwark creative team revive this classic Chekhov with charm and spirit, offering a touching account of Anya Reiss’s relevant and refreshing new interpretation.

http://southwarkplayhouse.co.uk/archives/the-seagull-2/

The production of Uncle Vanya is undoubtedly the most spectacular and touching show yet at the Print Room. Presenting the new Mike Poulton translation of the Chekhov standard are familiar artistic duo: director extraordinaire Lucy Bailey and her genius designer husband William Dudley.

At press night I was sitting next to Michael Billington, Guardian journalist legend, who was excitedly chatting to his neighbour about the last ‘Vanya’ they’d seen… I recalled my last Vanya, the picturesque production at the damp and dimly lit Arcola Theatre in Dalston. The Print Room’s adaptation is rich and passionate but equally intimate. The cast fit together like a jigsaw… thanks to some inspired casting by Joyce Nettles, they are all experienced character actors fully committing to their roles and working superbly as a team. Iain Glen is an intense and dramatic Vanya seething with anger and unrequited desire for young Yelena. He is wry and witty and juices the script of its humour. David Yelland is hysteriously pompous as Serebryakov, and William Houston appropriately charismatic and charming as the attractive doctor, Astrov. But it is Charlotte Emmerson as the heartbroken, naïve Sonya that impresses most, she is astute and delicately handles this usually irritating role to give a star performance.

The visual and audio aids contribute considerably to the Russian countryside feel and construct the atmospheric and intimate dining room. I was reminded actually of the warm, sensory overload in Marrakech. Hot tea, empty wine bottles, stained glass windows, realistic bird calls and lilting folk guitar playing and a musty smell of herbal cigarettes in the air.

I preferred the first half which bounces with jollity and mirth, drunken dances and exuberant speeches. The pace in the second half slows considerably, laced with sadness, bitter frustration and anxiety. It ends with painful hopelessness, acted beautifully by Glen and Emmerson, it will bring a tear to every eye.

Continues until 5 May, book here.